Being There
On the day that Kasparov was defeated by Deep Blue, I found myself thinking of the film "Being There'' (1979). The chess champion said there was something about the computer he did not understand, and it frightened him. There were moments when the computer seemed to be . . . thinking. Of course, chess is not a game of thought but of mathematical strategy; Deep Blue has demonstrated it is possible to be very good at it without possessing consciousness.
Being There
Chance is played by Peter Sellers, an actor who once told me he had "absolutely no personality at all. I am a chameleon. When I am not playing a role, I am nobody.'' Of course, he thought himself ideal for this role, which comes from a novel by Jerzy Kosinski. Sellers plays Chance as a man at peace with himself. When the old man dies, the household is broken up and Chance is evicted, there is a famous scene where he is confronted by possible muggers, and simply points a channel changer at them, and clicks. He is surprised when they do not go away.
Soon the rich man grows to treasure his reassuring friend. The family doctor (Richard Dysart) is perceptive, and begins to have doubts about Chance's authenticity, but silences himself when his patient says Chauncey "has made the thought of dying much easier.'' Chauncey is introduced by Ben to the president (Jack Warden), becomes an unofficial advisor, and soon is being interviewed on television, where his insights fit nicely into the limited space available for sound bites.
Satire is a threatened species in American film, and when it does occur, it's usually broad and slapstick, as in the Mel Brooks films. "Being There,'' directed by Hal Ashby, is a rare and subtle bird that finds its tone and stays with it. It has the appeal of an ingenious intellectual game, in which the hero survives a series of challenges he doesn't understand, using words that are both universal and meaningless. But are Chance's sayings noticeably less useful than when the president tells us about a "bridge to the 21st century?'' Sensible public speech in our time is limited by (1) the need to stay within he confines of the 10-second TV sound bite; (2) the desire to avoid being pinned down to specific claims or promises; and (3) the abbreviated attention span of the audience, which, like Chance, likes to watch but always has a channel-changer poised.
If Chance's little slogans reveal how superficial public utterance can be, his reception reveals still more. Because he is WASP, middle-aged, well-groomed, dressed in tailored suits, and speaks like an educated man, he is automatically presumed to be a person of substance. He is, in fact, socially naive ("You're always going to be a little boy,'' Louise tells him). But this leads to a directness than can be mistaken for confidence, as when he addresses the president by his first name, or enfolds his hand in both of his own. The movie argues that if you look right, sound right, speak in platitudes and have powerful friends, you can go far in our society. By the end of the film, Chance is being seriously proposed as a presidential candidate. Well, why not? I once watched Lamar Alexander for 45 minutes on C-SPAN, as he made small talk in a New Hampshire diner, and heard nothing that Chance could not have said.
When I taught the film, I had endless discussions with my students over this scene. Many insisted on explaining it: He is walking on a hidden sandbar, the water is only half an inch deep, there is a submerged pier, etc. "Not valid!'' I thundered. "The movie presents us with an image, and while you may discuss the meaning of the image it is not permitted to devise explanations for it. Since Ashby does not show a pier, there is no pier--a movie is exactly what it shows us, and nothing more,'' etc.
The dying Rand encourages Eve to become close to "Chauncey". She is already attracted to him and makes a sexual advance. Chance has no interest in or knowledge of sex, but mimics a kissing scene from the 1968 film The Thomas Crown Affair, which happens to be showing on the TV. When the scene ends, Chauncey stops suddenly and Eve is confused. She asks what he likes, meaning sexually; he replies "I like to watch," meaning television. She is momentarily taken aback, but decides she is willing to masturbate for his voyeuristic pleasure, thereby not noticing that he has turned back to the TV and is now imitating a yoga exercise on a different channel.
Being There, Being Here is the product of an eight-year long journey in which Maurice Ebileeni explores how the Palestinian homeland is being imagined in multiple languages from a variety of positions both locally and globally. The book poses unsettling questions about this current situation and also looks to the future to speculate about how a Palestinian nation might still house the notion of home for an increasingly diverse Palestinian population.
Challenges to ethnographic authority and to the ethics of representation have led many contemporary anthropologists to abandon fieldwork in favor of strategies of theoretical puppeteering, textual analysis, and surrogate ethnography. In Being There, John Borneman and Abdellah Hammoudi argue that ethnographies based on these strategies elide important insights. To demonstrate the power and knowledge attained through the fieldwork experience, they have gathered essays by anthropologists working in Morocco, Saudi Arabia, Syria, Tanzania, the Canadian Arctic, India, Germany, and Russia that shift attention back to the subtle dynamics of the ethnographic encounter. From an Inuit village to the foothills of Kilimanjaro, each account illustrates how, despite its challenges, fieldwork yields important insights outside the reach of textual analysis.
It was Sunday. Chance was in the garden. He moved slowly, dragging the green hose from one path to the next, carefully watching the flow of the water. Very gently he let the stream touch every plant, every flower, every branch of the garden. Plants were like people; they needed care to live, to survive their diseases, and to die peacefully.Yet plants were different from people. No plant is able to think about itself or able to know itself; there is no mirror in which the plant can recognize its face; no plant can do anything intentionally: it cannot help growing, and its growth has no meaning, since a plant cannot reason or dream.It was safe and secure in the garden, which was separated from the street by a high, red brick wall covered with ivy, and not even the sounds of the passing cars disturbed the peace. Chance ignored the streets. Though he had never stepped outside the house and its garden, he was not curious about life on the other side of the wall.
Immersive journalism in the form of virtual reality (VR) headsets and 360-video is becoming more mainstream and is much touted for inducing greater "presence" than traditional text. But, does this presence influence psychological outcomes of reading news, such as memory for story content, perceptions of credibility, and empathy felt toward story characters? We propose that two key technological affordances of VR (modality and interactivity) are responsible for triggering three presence-related cognitive heuristics (being-there, interaction, and realism), which influence news readers' memory and their perceptions of credibility, empathy, and story-sharing intentions. We report a 3 (storytelling medium: VR vs. 360-video vs. Text) 2 (story: "The displaced" and "The click effect") mixed-factorial experiment, in which participants (N = 129) experienced two New York Times stories (that differed in their emotional intensity) using one of the three mediums (VR, 360-video, Text). Participants who experienced the stories using VR and 360-video outperformed those who read the same stories using text with pictures, not only on such presence-related outcomes as being-there, interaction, and realism, but also on perceived source credibility, story-sharing intention, and feelings of empathy. Moreover, we found that senses of being-there, interaction, and realism mediated the relationship between storytelling medium and reader perceptions of credibility, story recall, and story-sharing intention. These findings have theoretical implications for the psychology of virtual reality, and practical applications for immersive journalism in particular and interactive media in general.
Medical education experts argue that grief support training for physicians would improve physician and patient and family wellness, and should therefore be mandatory. However, there is little evidence about the range of curricula interventions or the impact of grief training. The aim of this scoping review was to describe the current landscape of grief training worldwide in medical school, postgraduate residency and continuing professional development in the disciplines of pediatrics, family medicine and psychiatry.
Citation: Sikstrom L, Saikaly R, Ferguson G, Mosher PJ, Bonato S, Soklaridis S (2019) Being there: A scoping review of grief support training in medical education. PLoS ONE 14(11): e0224325.
Two levels of screening took place: a title and abstract review for articles that fit the predefined criteria and a full-text review of articles that met those criteria. For first- and second-level screening, three authors (LS, SS and GF) screened all of the titles and abstracts independently. During second-level screening, the same authors reviewed the full-text articles to determine whether they met the inclusion criteria. A third reviewer (PJM) was consulted to resolve any discrepancies. For example, some end-of-life articles discussed the concept of grief but upon further consideration were excluded because there was no discussion about grief training for end-of-life discussions.
The impact of grief training was measured in 57% of articles (n = 21). Most of these (81%) relied on self-assessments (e.g., Likert scale) that occurred immediately after the training was complete. We will discuss each of the main outcome measures: impact on patient care and impact on physician well-being. 041b061a72